A stab at liner note writing...
Although this album is an introduction to accordionist Vince Abbracciante, he has already been at the party for a while. Not yet 30, Abbracciante made his mark by winning the prestigious Castelfidardo Accordion Festival International Prize before he was old enough to drive. Since then, he has criss-crossed the globe performing on five different continents in every setting imaginable, from ancient amphitheaters to stuffy, low-lit basements. Finally, with all of this experience under his belt, Abbracciante is ready for his close-up.
Wisely, the young man from Puglia is not doing it alone. Abbracciante has surrounded himself with a sharp crew of musicians to help him mingle. Veteran saxophonist Robert Ottaviano contributres the first and last subdued notes of the album, inbetween he provides a few ruthless solos. Fellow youthful Italian Fabrizio Scarafile provides soprano saxophone for a couple of tracks, the swinging “No or Yes” as well as “Nublu Bossa” a burning re-arrangement of the Kenny Dorham classic reworked into an homage to the unofficial headquarters of the lone American on the album, bassist Juini Booth.
The unflappable Booth got his start in his teens working for legends like Art Blakey before going on to expand his sound in the 1970s as a member of McCoy Tyner’s band as well as Tony Williams’ Lifetime. Aside from holding down the low-end Booth also contributes a third of the album’s compositions including the backbeat-heavy “MDX” which features a boisterous seduction from vocalist Giuseppe Delre. The other contributing vocalist, Adriana Ciannella, make her recording debut on “En Mi” blending seamlessly with Abbracciante’s reedy accordion. And through it all is in-demand drummer Antonio Di Lorenzo keeping the pace on his gliding cymbals.
Of course all of this is in support of the man of the hour. From the clattering thunder of album opener “Visione” to his solo exploration on the swooning “Triss,” Abbracciante has presented a wide range of capabilities that only hint at what is to come in the future. His compositional talents combined with his breathless jaunts come together to form the complete package. His mastery of the handheld orchestra is a wonder to behold.
After taking the time to let Abbracciante introduces himself, you will only be left wishing he had done so sooner.
"Sean J. O'Connell scrive per DownBeat, LA Weekly e il New York Jazz Record. Gli piace ascoltare la fisarmonica, ma ha scoperto che i suoi avambracci gil fanno male de quando la suona."